In Thirteen Question Method, a man hides out in a Hollywood apartment from a past he doesn't want to remember and a present he is desperate to avoid. The summer sky is thick with ash, and across the courtyard, his neighbor won't stop screaming. When she asks for help in an inheritance dispute with her estranged stepmother, he is drawn into a web of fear and manipulation, until he begins to lose sight of what is real. Echoing the work of Dorothy B. Hughes and James M. Cain, David Goodis and Albert Camus, Thirteen Question Method is a churning psychological thriller, set against the backdrop of contemporary Los Angeles. In a novel inspired by classic noir, David L. Ulin excavates the depths of a disintegrating soul.

For writers Los Angeles has always been a place of paradisal promise and apocalyptic undercurrents. Simone de Beauvoir saw a kaleidoscopic hall of mirrors, Aldous Huxley a city of dreadful joy. Where Jack Kerouac found a huge desert encampment, David Thompson imagined Marilyn Monroe, fifty miles long, lying on her side, half-buried on a ridge of crumbling rock.

In Writing Los Angeles, The Library of America presents a glittering panorama of the city, encompassing fiction, poetry, essays, journalism, and diaries by over seventy writers. This revelatory anthology brings to life the entrancing surfaces and unsettling contradictions of the City of Angels, from Raymond Chandler's evocation of the murderous moods fed by the Santa Ana winds to John Gregory Dunne's affectionate tribute to the deceptive perspectives of the pale subtropical light.

Here are fascinating strata of Los Angeles's cultural and social history, from the oil boom of the 1920s to the graffiti artists of the 1980s, from flamboyant evangelist Aimee Semple MacPherson to surf music genius Brian Wilson, from the German migr intellectuals chronicled by Salka Viertel to the hard-bitten homicide cops tracked by James Ellroy. Here are its fragile ecosystems, its architectural splendors, and its social chasms, in the words of writers as various as M.F.K. Fisher, William Faulkner, Bertolt Brecht, Evelyn Waugh, Octavio Paz, Joan Didion, Walter Mosley, and Mona Simpson.

Art Pepper discovers Central Avenue in the heyday of the 1940s jazz scene; Charles Mingus describes an early encounter with the builder of the Watts Towers; screenwriter Robert Towne reflects on the origins of Chinatown; John McPhee powerfully conveys the devastation of Los Angeles mudslides; David Hockney teaches himself how to drive in record time; and Pico Iyer finds at Los Angeles International Airport as clear an image as exists today of the world we are about to enter.

Writing Los Angeles is an incomparable literary tour guide to a city of shifting identities and endless surprises.

In Sidewalking, David L. Ulin offers a compelling inquiry into the evolving landscape of Los Angeles. Part personal narrative, part investigation of the city as both idea and environment, Sidewalking is many things: a discussion of Los Angeles as urban space, a history of the city's built environment, a meditation on the author's relationship to the city, and a rumination on the art of urban walking. Exploring Los Angeles through the soles of his feet, Ulin gets at the experience of its street life, drawing from urban theory, pop culture, and literature. For readers interested in the culture of Los Angeles, this book offers a pointed look beneath the surface in order to see, and engage with, the city on its own terms.

Youthful alienation and despair dominate the 13 stories in Akashic's noir volume devoted to Cape Cod. [It] will satisfy those with a hankering for a taste of the dark side. --Publishers Weekly

David L. Ulin has put together a malicious collection of short stories that will stay with you long after you return home safe. --The Cult: The Official Chuck Palahniuk Website

Akashic Books continues its groundbreaking series of original noir anthologies, launched in 2004 with Brooklyn Noir. Each story is set in a distinct neighborhood or location within the city of the book.

Brand-new stories by: William Hastings, Elyssa East, Dana Cameron, Paul Tremblay, Adam Mansbach, Seth Greenland, Lizzie Skurnick, David L. Ulin, Kaylie Jones, Fred G. Leebron, Ben Greenman, Dave Zeltserman, and Jedediah Berry.

From the introduction by David L. Ulin:

Here, we see the inverse of the Cape Cod stereotype, with its sailboats and its presidents. Here, we see the flip side of the Kennedys, of all those preppies in docksiders eating steamers, of the whale watchers and bicycles and kites. Here, we see the Cape beneath the surface, the Cape after the summer people have gone home. It doesn't make the other Cape any less real, but it does suggest a symbiosis, in which our sense of the place can't help but become more complicated, less about vacation living than something more nuanced and profound . . .

For me, Cape Cod is a repository of memory: forty summers in the same house will do that to you. But it is also a landscape of hidden tensions, which rise up when we least anticipate. In part, this has to do with social aspiration, which is one of the things that brought my family, like many others, to the Cape. In part, it has to do with social division, which has been a factor since at least the end of the nineteenth century, when then summer trade began. There are lines here, lines that get crossed and lines that never get crossed, the kinds of lines that form the web of noir. Call it what you want--summer and smoke is how I think of it--but that's the Cape Cod at the center of this book.

Reading is a revolutionary act, an act of engagement in a culture that wants us to disengage. In The Lost Art of Reading, David L. Ulin asks a number of timely questions - why is literature important? What does it offer, especially now? Blending commentary with memoir, Ulin addresses the importance of the simple act of reading in an increasingly digital culture. Reading a book, flipping through hard pages, or shuffling them on screen - it doesn't matter. The key is the act of reading, and it's seriousness and depth. Ulin emphasizes the importance of reflection and pause allowed by stopping to read a book, and the accompanying focus required to let the mind run free in a world that is not one's own. Are we willing to risk our collective interest in contemplation, nuanced thinking, and empathy? Far from preaching to the choir, The Lost Art of Reading is a call to arms, or rather, to pages.

Earthquakes are one of the great unsolved geological mysteries. Attempts to predict them have ranged from studies of California's fault lines by USGS geologists to the work of an odd assortment of psychics and apocalyptics who base their sometimes startlingly accurate forecasts on everything from changes in the earth's magnetic fields to the behavior of whales. The Myth of Solid Ground is a journey, both personal and cultural, through the world of earthquakes and earthquake prediction, one that seeks a middle ground between science and superstition, while also looking for a larger context in which seismicity might make sense. An excellent primer on the science of seismology, The Myth of Solid Ground looks at earthquakes as the ultimate metaphor for living with impending disaster.

Thirty-seven LA writers map the scattered and diverse literary landscape of contemporary Los Angeles.

Stories, chronicles, and poems by both well-established and up-and-coming young writers about how it was to come to LA or what it was like to grow up there, about the ocean and the desert, the entertainment industry and earthquakes, riots and racism, fires and freaks.

Contributors include: Jervey Tervalon, Aimee Bender, Benjamin Weissman, Sesshu Foster, Richard Rayner, Jeffrey McDaniel, Amy Uyematsu, Russell Leong, Aleida Rodriguez, Luis Alfaro, Bia Lowe, Amy Gerstler, and others.

The result of Ulin's labors is ... an engaging and satisfying collection of fiction, poetry, and essays about L.A.; the book features mostly unpublished work by both established writers like Jerry Stahl (Permanent Midnight), Aimee Bender (The Girl in the Flammable Skirt) and Richard Rayner (Los Angeles Without a Map), and by less well-known ones like Russell Leong, Aleida Rodriguez and Samantha Dunn.--New York Newsday

David L. Ulin has assembled the literary equivalent of the Watts Towers: a dazzling dreamscape made from the most ordinary, terrifying, and euphoric debris of L.A. life.--Mike Davis

This regional anthology is, in the best sense, all over the map. Broad in scope and varied in style, Another City offers some of the most exciting, unpredictable writing a reader could hope for.--Bernard Cooper

Los Angeles has been called America's first postmodern city, and David L. Ulin's brilliantly chosen cast of extraordinary writers brings that hypothesis exquisitely to life.--Carolyn See

Another City bids a long goodbye to the exile tradition of writing about Southern California that prevailed in the last century. Its contributors are Angelenos 'native or born-again' who embrace L.A. as hometown and body of fate. Their collective dispatches are confessional, nostalgic, tender, harrowing, often very funny, occasionally exhibitionistic, unfailingly vivid and evocative.--David Reid, editor of Sex, Death and God in L.A.

David Ulin has lived in Los Angeles since 1991. From 1993-96 he was the book editor of the LA Weekly. He is a former Los Angeles Times critic and is an Assistant English Professor at the University of Southern California.

Seismologist Charlie Richter, grandson of the inventor of the Richter scale, knows earthquakes, and has a method for predicting them. Arriving in Los Angeles to begin work at the Center for Earthquake Studies, a mysterious agency that seems more Hollywood than science, Charlie settles into his new life. His only distraction from work is Grace, an assistant to a powerful producer, and her deadbeat scriptwriter boyfriend Ian.

It's only a matter of time before Charlie sees the Big One looming on the horizon. When Charlie alerts his boss at the Center, he is the one that's in for a shock: this is exactly what the Center was hoping for.

With the news leaked, everyone's suddenly looking to produce the next disaster blockbuster. One of the few scripts Ian actually wrote, Ear to the Ground, happens to be about an earthquake disaster, and soon it's plucked from obscurity and given the fast track. But with a little bit of luck, Charlie may just foil everybody's plans. He just needs explosives, a helicopter, a little more time.

By award-winning writer and Los Angeles Times book critic David Ulin, Ear to the Ground is a rollicking visit back to the 1990s.